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New division by LUMEN CENTER ITALIA lights up the Veneranda Biblioteca Pinacoteca Ambrosiana

NOVA LUX AT AMBROSIANA PREFACE

What does not do the light! It brightens LUMEN CENTER ITALIA has caught for us In this way the Pintacoteca Ambrosiana A VIBRANT the surrounding and fills it up of shapes, the light of the sun, in order to allow us to can offer to the world of art expositions ATMOSPHERE where in the indistinct dark every differ- show our masterpieces in the best possi- an example of virtuous lighting. ence is lost. Dark and panic are all one, ble conditions, in a way that a prolonged FULL OF PATHOS and not only for children! Light and joy of exposition to light could not damage the life and moving in a comfortable and good works delivered from centuries to our ad- tidy place go at the same speed. miration. The visitor is involved in the ex- posed pictorial works, has the impression The Pinacoteca Ambrosiana is living mo- to see for the first time some rooms of the ments of intense emotion caused by a Pinacoteca Ambrosiana, discovering de- new illuminating system which enhances tails and chromatic tones which, before its artistic heritages, thanks to the gener- of this intervention, were never observed. Deep study ous interest of LUMEN CENTER ITALIA. The spectrum of solar light reproduced on the colors by the new generation of LED applies an Monsignor Franco Buzzi The natural light is the best per excel- intense therapy on the art works, almost Prefect of the Veneranda of each work lence like the sun one. like a renovating intervention.

4 SALA FEDERICIANA NOVA LUX AT AMBROSIANA 5 THE LIGHTING PROJECT

The lighting project performed for the On each painting was conducted a thor- The museum is now living in a completely A TREMBLE Pinacoteca Ambrosiana has set up most ough study of the color components, the new dimension, in which the observer is ATMOSPHERE clearly the masterpieces on display in it. meaning of the work, the “atmosphere” to talk in person with the true face of the in it recreated at the pictorial level. works, grasping meanings, symbols and FULL OF PATHOS Lowering the level of general lighting, the Based on this study the lighting pro- messages before illegible, almost as if use of projectors, lightining individually ject has selected the most appropriate the works had been restored. paintings and sculptures, delineating ex- LED light sources, optics and lenses. actly the size, has meant that the works The project has also defined the correct emerge from the walls, creating a ‘vibrant light incidence angles with the works atmosphere full of pathos. The contrast and the color temperature degrees for between the penumbra of the space and each individual work. the vibrant shine of the chromatic mass- In this way, in each work it was possi- Deep study es of the paintings together with the 3D of ble to capture smallest details, delicate on the colors the sculptures and the relief of the gold nuances, shades and different color funds, has made the works re-emerging planes, invisible with the previous illu- Arch. Alessandro Colombini of each work in all their magic. mination. Lighting Designer

6 SALA FEDERICIANA NOVA LUX AT AMBROSIANA 7 FRAMES OF ANUB 24° (spotlight track with 24° optic) PRESERVE AND DIVULGE

Allowing users to observe and enjoy the collaboration with the most advanced Jap- has elevated the visual comfort, making A RENEWING great masterpieces’ smallest details, in- anese companies of the sector, generate a more clear artworks’ details while avoid- PERCEPTION volve deep and extended cultural, scientif- light emission with a spectrum very simi- ing degradation of colors and artworks ic and technological knowledge. It cannot lar to sun. The clean, natural, without in- damages. OF THE be the result of hurriedness. frared and ultraviolet light, and especially Spectrum of compared to Sunlight General evaluation system of light properties without the peak of blue waves emitted No better comment than visitors could CRI>97 (Color Rendering Index) MASTERPIECES Poor and incorrect lighting lead to a nar- by current LED which damage artworks, reward us, and we believe that the judg- row view of the artworks, many times ru- allow a perfect lightening. The high trans- ment of many is summarized by the words

99 99 99 99 ining and modifying artworks themselves. parency degree of the lens and the quali- of the Ambrosiana, prefect Monsignor 100 98 97 98 97 97 98 97 96 97 ty of electronics, made a suitable lighting Franco Buzzi: “The new lighting inter- 94 95 93 Problems The Ambrosiana lighting project – edited system for many different artworks, with ventions have been capable of renewing Natural Blackbody Radiation Curve 90 by Arch. Alessandro Colombini and devel- an important energy saving. perception of the masterpieces preserved and challenges oped by LUMEN CENTER ITALIA by its new in Ambrosiana. Each artwork is made ac- Intensity 80 division , has overcame many obsta- Each artwork was illuminated with the cessible and immediately understandable cles being able to adapt to limited spaces proper color temperature enhancing its in the inspirational force that generated Augusto Grillo and old plants design. Light sources qual- features of polychromes. it. The calculated mixtures of hot and cold 70 ity, the upper technology of lens and of The results affirm that – very high light allow an incomparable exaltation 350 400 450 500 550 600 650 700 750 800 n/m Ra R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 R11 R12 R13 R14 R15 Presidente electronics are a new advanced frontier in quality lighting devices with a natural of the chromatic value, ensuring at the Intensità normalizzata LUMEN CENTER ITALIA CEO the sector of museums lighting systems. emitted spectrum for different color same time a perfect preservation of the division , new LED conception, developed in temperatures, lenses and electronics – paintings”.

8 SALA FEDERICIANA NOVA LUX AT AMBROSIANA 9 THE VENERANDA BIBLIOTECA PINACOTECA AMBROSIANA

The inspiring wind of Renaissance it’s dis- In began pulsing a new art and A feast of emotions shakes us by visiting ONE OF THE FIRST closed also in the Pinacoteca Ambrosiana culture stronghold, with a host of Mas- the rooms of the Art Gallery and along MUSEUMS OPEN and through it, as in a treasure chest of terpieces that rise beyond their time and with them, a thousand of incentives to our memory strong characters come to light are still able to talk to our senses and imagination and reflection. TO THE PUBLIC for foresight and generosity, along with essence. magnificent artworks of creativity and of Federico Borromeo firmly believed that Art human genius. Since its origins the cardboard of the raises knowledge and spirit, thus he made School of Athens by Raffaello, the Basket the library and gallery available to public. April 29, 1618 Cardinal Federico Bor- of Fruit by Caravaggio, the Adoration of The Ambrosiana became one of the first romeo donated his collection of paint- the Magi by Tiziano, the Madonna of the museums in the world open to the com- ings, sculptures, prints, drawings and Pavilion by Botticelli, the Holy Family by munity, facing the issue of how best pre- engravings to Ambrosiana, establishing Luini are in the heart of the collection. serve and divulge the exhibited artworks. Art Gallery Ambrosiana. In this way was Also the Musician and the very renowned Origins completed the majestic project started , both realized by Preservation and divulgation are some with the foundation of Library Ambrosi- Leonardo , join the gallery with of the most difficult challenges of muse- and Masterpieces ana in 1609. many other masterpieces. ums, and still far from being solved.

10 SALA FEDERICIANA NOVA LUX AT AMBROSIANA 11 BE TOUCHED BY LIGHT

12 SALA FEDERICIANA 14 SALA FEDERICIANA The majestic staircase A SCENOGRAPHIC

The lighting renovatio began with the AND EMPATHETIC reshaping of the staircase, the great access to the halls of the Gallery. EFFECT BETWEEN ARCHITECTURAL In this area the light enhances the mon- umental aspect of the plaster casts of SPACE AND ART the Laocoonte and of Michelangelo’s Pieta, while shadows bring plasticity to WORKS the volumes and dramatize fruition.

For this space, the project was de- signed to give a scenic and empathet- ic dimension in a total union between architectural space and artwork; it was achieved using open-beam spotlights, positioned on wall poles for the fa- mous plaster copies. The light beams that illuminate the two works, direct- ed by fins that converge the light rays towards them, leave aside the shad- ows free to roam on the wall in order to create a backdrop that evokes the dynamism of the sculptures. Different shades of white light have been used to The sculptures, from left to right: bring out the appropriate shade of each plaster, different in the two molds. PIETÀ (copy from Michelangelo) The two big canvases with scenes from XVI century the Borromeo’s life on the staircase LAOCOONTE sides and the one of Crespi stretched (copy from vatican) on the welcoming corridor, that were XVI century barely visible with the previous light- ing, now live again as if they had been The canvases, from left to right: subjects of restoration. The interven- FEDERICO BORROMEO PORTA tion with shapers spotlights, which IL VIATICO A SAN FILIPPO NERI circumscribe the exact size, makes the Antonio Busca works read in their entirety, recovering their historical and artistic importance. FEDERICO BORROMEO TRASLA IL CORPO DI SAN CALIMERO Arch. Alessandro Colombini Andrea Lanzani

16 ENTRANCE HALL NOVA LUX AT AMBROSIANA 17 ENTRANCE HALL

MONUMENTO A GIUSEPPE BOSSI Antonio Canova Pompeo Marchesi Domenico Moglia Pelagio Pelagi

18 ENTRANCE HALL NOVA LUX AT AMBROSIANA 19 LED TECHNOLOGY FOR SUGGESTIVE ATMOSPHERES

Fom left to right:

PIETÀ (copy from Michelangelo) XVI century

LAOCOONTE (copy from vatican) XVI century

20 ENTRANCE HALL NOVA LUX AT AMBROSIANA 21 THE NEVER-SEEN DETAILS

22 SALA FEDERICIANA 24 SALA FEDERICIANA On the left: ROOM 1 GESÙ BAMBINO CON AGNELLO Collection On the right: of Cardinal UOMO IN ARMATURA Federico Borromeo Tiziano Vecellio Bottom: ADORAZIONE DEI MAGI Tiziano Vecellio

26 COLLECTION OF CARDINAL F. BORROMEO NOVA LUX AT AMBROSIANA 27 SANTA FAMIGLIA CON SANT’ANNA E SAN GIOVANNI Bernardino Luini

Detail on the opposite page: top BEFORE bottom AFTER

28 COLLECTION OF CARDINAL F. BORROMEO NOVA LUX AT AMBROSIANA 29 ROOM 2 Italian Painting of XV-XVI Centuries

Top: on the left: POLITTICO Bartolomeo Vivarini

Bottom from left to right: SANTA ELISABETTA E SAN FRANCESCO SAN PIETRO MARTIRE E SAN CRISTOFORO Bergognone (Ambrogio da Fossano)

30 ITALIAN PAINTING OF XV-XVI CENTURIES NOVA LUX AT AMBROSIANA 31 Detail on the side: OBSERVING AND on the left BEFORE RELISHING THE on the right AFTER MASTERPIECES’ DETAILS

Detail on the bottom: on the left BEFORE on the right AFTER

MADONNA DEL PADIGLIONE Sandro Botticelli (Alessandro di Mariano Filipepi)

32 ITALIAN PAINTING OF XV-XVI CENTURIES NOVA LUX AT AMBROSIANA 33 THE HIGH TRANSPARENCY DEGREE OF THE LENS AND THE SUPERIOR SHAPING SYSTEM DELIHEATING EXATLY THE SIZE OF ARTWORKS ALLOWS A PERFECT VISION

ADORAZIONE DEL BAMBINO Bottega del Ghirlandaio (Domenico Bigordi) Detail on the opposite page: on the left BEFORE on the right AFTER

34 ITALIAN PAINTING OF XV-XVI CENTURIES NOVA LUX AT AMBROSIANA 35 ROOM 3 Lombard Painting of XV-XVI Centuries

Top: ADORAZIONE CON SAN ROCCO (Gian Pietro Rizzoli)

Bottom: MADONNA IN TRONO CON SANT’AMBROGIO E SAN MICHELE Bramantino (Bartolomeo Suardi)

36 LOMBARD PAINTING OF XV-XVI CENTURIES NOVA LUX AT AMBROSIANA 37 THE PROPER COLOR TEMPERATURES ENHANCE ARTWORKS’ FEATURES OF POLYCHROMES

MADONNA E BAMBINO CON SAN PIETRO E SAN GIROLAMO Cesare Magni

Detail on the opposite page: on the left BEFORE on the right AFTER

38 LOMBARD PAINTING OF XV-XVI CENTURIES NOVA LUX AT AMBROSIANA 39 40 SALA FEDERICIANA ROOM 4 Bottom: MADONNA CON IL BAMBINO, CON SAN GIOVANNI BATTISTA Collection of Cardinal E SANTA CECILIA Federico Borromeo Copia da Tiziano Vecellio

42 COLLECTION OF CARDINAL F. BORROMEO NOVA LUX AT AMBROSIANA 43 HIGH VISUAL COMFORT AVOIDING MEANTIME COLORS DEGRADATION

RIPOSO DURANTE LA FUGA IN EGITTO Jacopo Bassano (Jacopo da Ponte)

Detail: on the left BEFORE on the right AFTER

44 COLLECTION OF CARDINAL F. BORROMEO NOVA LUX AT AMBROSIANA 45 Bottom: ROOM 6 GESÙ TRA I DOTTORI Collection of Cardinal Morazzone (Pier Francesco Mazzucchelli) Federico Borromeo

46 COLLECTION OF CARDINAL F. BORROMEO NOVA LUX AT AMBROSIANA 47 SYMBOLS, MEANINGS AND MESSAGES FIRST UNREADABLE, NOW REACHABLE AS IF A RESTORATION HAS OCCURRED

CRISTO CORONATO DI SPINE Detail: E LA MADONNA ADDOLORATA on the left BEFORE Il Sordo (Antonio Travi) on the right AFTER

48 COLLECTION OF CARDINAL F. BORROMEO NOVA LUX AT AMBROSIANA 49 The Flemish Hall

Particular attention was paid to the lighting of this room, where you can admire the Flemish works collected by Federico Borromeo and particular- ly dear to him. Composed of paintings in which the religious subject turns in large landscape views, the lighting project has highlighted the magnifi- cent details of Brueghel and Brill, au- thors of most of the paintings in this section of the museum.

If from Brueghel paintings almost all the microscopic details of the endless items depicted in now emerge with a chromatic and dimensional shrill re- call, in Brill’s paintings a further re- search concern the arising of their own true identity, the atmosphere – almost symbolic and climatic too – that the painter has instilled, obtained through unique lighting devices for each differ- ent canvas.

Different color temperatures spot- lights have been used to illuminate these paintings, in order to bring out the cold northern light (well known by the author) that was hidden in them, albeit showing the typical Lazio land- scapes and Roman countryside with the majestic architectural vestiges of an ancient era. The memory of the IN EVIDENCE artist’s home country light is the main component of the atmosphere that an- THE WONDERFUL imates these paintings depicting typi- DETAILS cal sites of central Italy. OF BRUEGHEL Arch. Alessandro Colombini AND BRILL WORKS

50 COLLECTION OF CARDINAL F. BORROMEO NOVA LUX AT AMBROSIANA 51 ROOM 7 Collection of Cardinal Federico Borromeo

Top: PAESAGGIO CON REBECCA AL POZZO Paul Bril

Bottom: SEI PAESAGGI Jan Brueghel and Paul Bril

52 COLLECTION OF CARDINAL F. BORROMEO NOVA LUX AT AMBROSIANA 53 THE CLEAN, NATURAL LIGHT ALLOWS A PERFECT LIGHTENING

Detail on the side: on the left BEFORE on the right AFTER

VASO DI FIORI CON GIOIELLO, Detail bottom: MONETE, CONCHIGLIE on the left BEFORE Jan Brueghel on the right AFTER

54 COLLECTION OF CARDINAL F. BORROMEO NOVA LUX AT AMBROSIANA 55 ALLEGORIA DELL’ACQUA Jan Brueghel

Detail: on the left BEFORE on the right AFTER

MICROSCOPIC DETAILS OF THE ENDLESS ITEMS DEPICTED IN NOW EMERGE WITH A CHROMATIC SHRILL RECALL

56 COLLECTION OF CARDINAL F. BORROMEO NOVA LUX AT AMBROSIANA 57 PASSAGGIO CON LA CONVERSIONE DI SAN PAOLO Paul Bril

Detail: on the left BEFORE on the right AFTER

NOW EMERGE THE COLD NORTHERN LIGHT WELL KNOWN BY THE PAINTER

58 COLLECTION OF CARDINAL F. BORROMEO NOVA LUX AT AMBROSIANA 59 ROOM 21 Flemish and German Painting of XV-XVII Centuries

ADAMO ED EVA NEL PARADISO TERRESTRE Jan Brueghel il Giovane

60 FLEMISH AND GERMAN PAINTING OF XV-XVII CENT. NOVA LUX AT AMBROSIANA 61 ART ON STAGE

62 SALA FEDERICIANA 64 SALA FEDERICIANA SALA FEDERICIANA

66 SALA FEDERICIANA NOVA LUX AT AMBROSIANA 67 CALCULATED MIXTURES OF WARM AND COLD LIGHT ALLOW AN INCOMPARABLE EXALTATION OF THE CHROMATIC VALUE

CANESTRO DI FRUTTA Caravaggio (Michelangelo Merisi)

Detail on the opposite page: on the left BEFORE on the right AFTER

68 SALA FEDERICIANA NOVA LUX AT AMBROSIANA 69 Showcases’ details of the new illuminating HIGH QUALITY system with LED light sources OF LIGHT, HIGH ENERGY SAVING

CODICE ATLANTICO

70 SALA FEDERICIANA NOVA LUX AT AMBROSIANA 71 HIGH QUALITY LEDS WITH A NATURAL EMITTED SPECTRUM VERY SIMILAR TO SUNLIGHT

OLD NEW LIGHTING LIGHTING

72 SALA FEDERICIANA NOVA LUX AT AMBROSIANA 73 LED TECHNOLOGY

74 SALA FEDERICIANA ANUB 12 ANUB 24 ANUB 42 BRILL SPOTLIGHT TRACK WITH 12° OPTIC SPOTLIGHT TRACK WITH 24° OPTIC SPOTLIGHT TRACK WITH 42° OPTIC PROJECTOR TRACK

241 83 240 83 240 83 240 83

27 27 27 27

ø92 ø92 ø92 210 210 210 210

ø92 274 Units: cm 222 Units: cm 168 Units: cm 122 Units: cm

FAMILY DATASHEET FAMILY DATASHEET FAMILY DATASHEET FAMILY DATASHEET Track spotlight with high-power LED technology for Track spotlight with high-power LED technology for Track spotlight with high-power LED technology for Track projector with high-power LED technology for museums, exhibitions, hospitality industry, retail museums, exhibitions, hospitality industry, retail museums, exhibitions, hospitality industry, retail museums, exhibitions, hospitality industry, retail MATERIALS DATASHEEET MATERIALS DATASHEEET MATERIALS DATASHEEET SHADING FLAPS MATERIALS DATASHEEET Body Black anodized aluminium Body Black anodized aluminium Body Black anodized aluminium Not to sell apart Body black anodized aluminium Lens High refractive index glass Lens High refractive index glass Lens High refractive index glass Lens High refractive index glass Track EUROSTANDARD 3-phase Track EUROSTANDARD 3-phase Track EUROSTANDARD 3-phase Frontal glass PMMA satin Heat sink Black anodized aluminium Heat sink Black anodized aluminium Heat sink Black anodized aluminium Track EUROSTANDARD 3-phase Framing slides Black anodized aluminium Framing slides Black anodized aluminium Framing slides Black anodized aluminium Heat sink Black anodized aluminium Light source COB 20x24 efficiency (80lm/W) Light source COB 20x24 efficiency (80lm/W) Light source COB 20x24 efficiency (80lm/W) Light source COB 20x24 efficiency (80lm/W) LIGHTING DATASHEET LIGHTING DATASHEET LIGHTING DATASHEET LIGHTING DATASHEET LED TRI-R for luum LED TRI-R for luum LED TRI-R for luum LED TRI-R for luum CRI Ra97 (Color Rendering Index) CRI Ra97 (Color Rendering Index) CRI Ra97 (Color Rendering Index) CRI Ra97 (Color Rendering Index) CQS Qa97 (Color Quality Scale) CQS Qa97 (Color Quality Scale) CQS Qa97 (Color Quality Scale) CQS Qa97 (Color Quality Scale) Beam angle 12° SPOT Beam angle 24° FLOOD Beam angle 42° WIDE FLOOD Beam angle 16° 30° 50° Color Temp. 2700K 3000K 4000K 5000K Color Temp. 2700K 3000K 4000K 5000K Color Temp. 2700K 3000K 4000K 5000K Color Temp. 2700K 3000K 4000K 5000K Luminous flux lm (collecting data) Luminous flux lm (collecting data) Luminous flux lm (collecting data) Luminous flux lm (collecting data) ELECTRICAL DATASHEET ELECTRICAL DATASHEET ELECTRICAL DATASHEET ELECTRICAL DATASHEET Mains Voltage 220/240V 50/60Hz Mains Voltage 220/240V 50/60Hz Mains Voltage 220/240V 50/60Hz Mains Voltage 220/240V 50/60Hz Power 23W Power 23W Power 23W Power 23W Room Temp. +30 °C Room Temp. +30 °C Room Temp. +30 °C Room Temp. +30 °C MECHANICAL DATASHEET MECHANICAL DATASHEET MECHANICAL DATASHEET MECHANICAL DATASHEET

Horizontal orientation 355° Horizontal orientation 355° Horizontal orientation 355° 104 Units: cm Horizontal orientation 355° Vertical orientation up +10° down -95° Vertical orientation up +10° down -95° Vertical orientation up +10° down -95° Vertical orientation up +10° down -95° Estimated weight 2,3 kg Estimated weight 2,15 kg Estimated weight 2,0 kg Estimated weight 1,25 kg/0,35 kg (shading flaps) POWER SUPPLY DATASHEET POWER SUPPLY DATASHEET POWER SUPPLY DATASHEET POWER SUPPLY DATASHEET Power supply Electronic dimmable 1-10V Power supply Electronic dimmable 1-10V Power supply Electronic dimmable 1-10V Power supply Electronic dimmable 1-10V CERTIFICATION CERTIFICATION CERTIFICATION 111 104 CERTIFICATION

76 LED TECHNOLOGY NOVA LUX AT AMBROSIANA 77 CREDITS

Special thanks: Monsignor Franco Buzzi Prefect of the Veneranda Biblioteca Ambrosiana

Prof. Giorgio Ricchebuono President Fondazione Cardinale Federico Borromeo

LIGHTING SPONSOR: LUMEN CENTER ITALIA Srl

LIGHTING DESIGN: Arch. Alessandro Colombini

SUPER VISOR PROJECT ENGINEER: Alessandro Zamperetti Vice President LCI

LCI STAFF FOR PROJECT AND INSTALLATION OF THE DEVICES: Staff LUMEN CENTER ITALIA Srl

GRAPHICS AND LAYOUT: Simona Monfrinotti

GRAPHIC DESIGNS: Alessandro Zamperetti Vice President LCI

PHOTO: Simona Monfrinotti Barbara Bonomelli

PHOTO EDITING: Marco Zani Simona Monfrinotti

First edition March 2016

78 SALA FEDERICIANA LUMEN CENTER ITALIA Srl Via Donatori del Sangue n.37 20010 Santo Stefano Ticino (MI) Italia tel. +39 02 3654 4811 [email protected]

ITALY OFFICE tel. +39 02 3654 4311 [email protected]

EXPORT OFFICE tel. +39 02 3654 4308 [email protected] LUMEN CENTER ITALIA Srl Via Donatori del Sangue n.37 20010 Santo Stefano Ticino (MI) Italia tel. +39 02 3654 4811 [email protected]

ITALY OFFICE tel. +39 02 3654 4311 [email protected]

EXPORT OFFICE tel. +39 02 3654 4308 [email protected]